Woman with a gesture of sorrow

If in one single space we have the opportunity of seeing works of the multiple stylistic modalities of the ceramic sculptural art of the shaft tomb culture, their marked diversity excels in principle. They can be so different in the recreation of the human body, the treatment given to the surface, the dimensions, the iconographic repertoire and the types of pastes, that it is possible to attribute them to distinct cultural developments. However, a more attentive look and a stylistic analysis allow the elements that they share to be noted.

The gestures and feminine and masculine positions constitute solid proof of the coherence in their conception, of the existence of a great style with numerous variants and, in an intrinsic way, of the ideological and cultural unity of the creating society. A gesture and a posture exclusively associated with women is seen in the sculpture. She is sitting with her legs bent toward the side and her hand touching the earlobe while she raises her other arm and displays the front of her palm. As variations of these gestures, she can touch her cheek or neck, and sometimes the palms of both hands are displayed. This configuration surely communicates specific messages, which are veiled from us today. Perhaps they refer to certain conditions or qualities of those portrayed, taking into that these pieces served as an offering to the dead and their possible connection to specific individuals.

Within the framework of the conventions of the style, a particular feature is the ornamentation of the head with incised lines. As is common of the Tala-Tonala,  the necklace and some motifs that reflect body paint stand out in the nude torso, which can also be seen in the hands and feet. Finally, the bipartite decoration of the skirt stands out with a smooth section, and a lined section.